17.5.08 Ah Cama-Sotz, MNortham, J. Suchy Münster

[kubu]

Sa. 17.05.2008,
Einlass: 19.30h, erstes Konzert: 20.00h, Tickets 10 Euro

aufabwegen präsentiert: Geräuschwelten #45

Ah Cama-Sotz
(B, special dark ambient show)
&
MICHAEL NORTHAM
(USA, Field Recordings)
&
JOSEF SUCHY
(D, Staubgold/Sonig, guitar improvisations)
&
SCHNACK
(D, Paul Hubweber: Posaune & Uli Böttcher: real time electronics)

Black Box/cuba-cultur
Achtermannstr. 12, 48143 Münster

Diese Festivalausgabe der geräuschwelten umspannt den ganzen Bogen der akustischen Experimentierkunst. SCHNACK >spielen improvisierte Musik im Geiste des Free Jazz, JOSEF SUCHY entlockt seiner E-Gitarre abstrakte und pulsierende Klangwelten, MICHAEL NORTHAM sammelt auf seinen Reisen Geräusche, die er zu Kompositionen moduliert und AH-CAMA SOTZ wollen mit dunklen Nebelschwaden aus Sounds unsere Sinne umtanzen. Ein spannender Abend ist garantiert!


Weitere Informationen/Infoline
aufabwegen/Till Kniola
Tel.: 0221-2720055 - Fax.: 0221-2720056
E-Mail: zipo@aufabwegen.com

Informationen

AH CAMA-SOTZ

During his career Ah Cama-Sotz has carved a niche for himself as one of the darkest industrial acts around. His music is steeped in a multitude of mythology, occultism and bloody history, which lend a
context and significance to the individual works that is noticeably absent from a lot of contemporary industrial / noise music. The past 15 years have seen the Ah Cama-Sotz sound progress from cold, minimalist electronics through to dark ambient soundscapes and pounding techno floor-fillers.
Herman's boyhood infatuation of classical music has prominantly formed the foundation of his present musicality. Subsequently his fascination for "dance" led him into DJ'ing in clubs and local pirate radio
stations, where he noticed the incessant evolution and metamorphosis of " dance " and experimental music. Yet, he didn't want to remain a passive onlooker and aspired to formulate his individual sound, by mean of acquiring synths and samplers. His objective was to combine his musical passion and esoteric ideology which resulted in an obscure and macabre but rhythmic and atmospherically sound. This project required an appropriate moniker, which could integrate and mirror all those constituents. When wandering in Mexico he uncovered local mythology and found his alter ego: " Ah Cama-Sotz ", named after a giant bat which used his extremely elongated sharp claws to decapitate his victims. In the mid-eighties he recorded his first tracks, which were given airplay on a controversial local radio station, " radio centraal ". While on the air he attracted the attention of an electronic/ritual band called " Hybryds " which resulted into a ritual-ambient project/recording for the Antwerp zoo: " Soundtrack voor het aquarium " (project by hybryds and vidna obmana). When listening to Ah Cama-Sotz' recordings you will ascertain his mephystological values interpolated with rhythmical-ritual ambience and accentuated with industrial vibes. Ah Cama-Sotz will transport your subconscious in a mythical universe where his alter ego " Ah Cama-Sotz " haunts the night and proliferates anxiety amidst every living creature. Ah Cama-Sotz' music reflects the
epitome of mankind's mis(t)ery and (in)humanity.

http://www.myspace.com/ahcamasotzbatsandcats
http://www.ahcama-sotz.com


MICHAEL NORTHAM

USA, born 1970

Since his earliest memory, being born in the western desert state of Utah, Michael Northam (aka mnortham) has been intimately and directly inspired by vast geographies, severe weather and and other impressive natural events and places. This life long research/fascination into the phenomena of perception faced with intimidating scales (large or small) continues to the foundation of his work with sound and images.

His work is the continuation of more than 15 years active art-life-travel which has brought him to visit, work with, and learn from over 90 artists from over 50 locations in 25 countries. Through these various experiences he has woven a complex tapestry of influences into a very personal intuitive process of creation. He continues to rediscover relations between visual/physical and sonic structures via a continual activity in graphic design, photography and filmmaking parallel to the sound work. As well as finding and practicing links between 'sound as art/experience' and traditional 'musical' approaches, such as the study of Kirana style raga singing with Michael Stirling (the last student of Pandit Pran Nath).

He has established studios, organized events, made his own way independent of institutions and nationality now for over ten years through relocations between several countries. By now his work has been presented in over 15 countries with CDs published on four continents. He is ever surprised to discover new listeners and collectors of his music in the most disparate places—from Japan to Lapland from Moscow to Montana.

Currently using specially prepared instruments such as the Magnetic Table Harp (a controllable magnetic resonance machine that acts simultaneously as a stringed instrument, a large contact microphone and a tone processor) as well as computer processing, prepared recordings (such as frying potatoes, roasting seeds and walks/climbing through various plants) and a range of sounding objects Michael explores the no-man's land between improvisation and acousmatic composition. A delicate position poised in search of the ever elusive morphological 'flow' where sound and action melt together and the eidetic triggering of sound as pure material transcends playing into the territory of 'sonic compost'—that which feeds our insatiable need to listen deeper.

Recently Michael is trying to find a way to settle down a bit in Belgium. Plans including residencies to explore live improvisation and large scale immersive video-sound works. Forthcoming collaborative CDs are explected to be released in 2007 from the labels Xing Wu(malaysia) with Seijiro Murayama and from Helen Scarsdale(san francisco) with Loren Chasse. Further rumors will be leading him back to India winter 2007-08 to work with the filmmaker Shumona Goel as well as other potential workshops and meetings

JOSEF SUCHY

Gitarrist, Remixer, Labelbetreiber,
Jahrgang 1958, klassische Ausbildung auf Geige und Gitarre, 1979-1981 musikalische Reisen nach Asien, Arabien und Afrika, 1982-1986 Studium der Soziologie bei Prof. Ulrich Beck (Uni Bamberg), 1990 Gründung der elektronischen Gruppierung “four square logos” mit F.X. Randomiz und Jan St. Werner (Mouse on Mars), A-musik, 1991 Gründung des GEFRIEM-Labels für neue “Musikströme” in Köln, 1998 Mitbegründer des Kölner GROB-Labels für innovative improvisierte und elektronische Musik. Verwurzelt in der Tradition eines Keiji Haino, Keith Rowe(AMM), Edgar Varese, Jimi Hendrix und den Kreationen der deutschen Elektronik (NEU!, La Düsseldorf, Popol Vuh) und seiner Faszination für außereuropäische Volksmusiken, arbeitete er über Jahre hinweg an der Ausgestaltung neuer, gegenwartsbezogener Musiken, grenzüberschreitend zwischen improvisierten und komponierten Klangebilden (Tanztheather/Installation/Performance). Seine langjährige Zusammenarbeit mit Bernd Friedmann (Jaki Liebezeit/Flanger/Nu Dub Players etc.) ergänzt seine Arbeit zu einem umfangreichen Werk, das sich aus Soloprojekten (Calabi Yau, Smile, Entskidoo) und vielfältiger Produzententätigkeit (Staubgold, Tomlab, Whatness) zusammensetzt.


SCHNACK
SCHNACK vinyl LP, 2005 auf abwegen
Absolutely no compromise for this electronics and trombone duo, recorded in 10 live improvisations in 2004. in both sides of the vinyl album, Hubweber - one of the finest European trombonists, if you ask me- supplies raw materials and evoluted phraseologies that Böttcher is able to mould and fuse in infinite quibbles where instrumental acoustic and radical effect incendiarism maintain a loquacious intercourse. pinching each other with unexpected twists, the musicians covern the behavior of their own peculiar artistic molecules with ease, putting irony and paradox on the top of the list; thus, a two-voice potential becomes an omnibus bag of squalls and strange sonic prints that no one will ask to explain, in a "love or hate it" stance which - i believe - is just that the fine improvisers desire most of all.
MASSIMO RICCI touchingextremes.org
Info:
http://www.paulhubweber.com